You’re going to want to turn down the volume on your device for the first track on bassist James Ilgenfritz‘s wildly uncategorizable new album You Scream a Rapid Language – streaming at Bandcamp – especially if you’re wearing earbuds. Some of this is assaultive, abrasive music, but it can be a treat for people who gravitate toward those kinds of sounds. The bassist’s next gig is a two-night stand with multimedia artist and playwright Sarah Krasnow at Honey’s, a mead brewery at 93 Scott Ave. in Bushwick on Jan 4 and 5 at 8 PM. Cover is $10; since this is happening over another L-pocalypse weekend, if you’re not in the neighborhood, it’s going to be a bitch to get to. The closest train that’s running is the M to Myrtle Ave; you could take your chances with the bus after.
Muted, pummeling beats anchor violinist Pauline Kim Harris’ sharp, shrieking, slashing upper-register riffage in the album’s first track, Terminal Affirmative. As usual, Ilgenfritz writes for every fraction of the available sonics, from nails-down-the-blackboard upper-register harmonics, to cello-like low-midrange washes, to pings and thuds from Alex Cohen’s double bass drum. .And just when you think this might be all shards and fragments, it turns into a witchy tarantella.
The second number, Apophenia III: The Index is a twistedly disjointed electroacoustic epic with lots of sardonic wah-wah, a talkbox, creepy, minimalist piano from Kathleen Supove, sepulchral wisps from James Moore’s guitar and Jennifer Choi’s violin, and a bit of a strolling stalker theme. How to Talk to Your Children About Not Looking at the Eclipse, a chattering solo tableau for Margaret Lancaster’s solo flute, is as ridiculously picturesque as the title suggests.
Freaky faux-operatic spoken word, fragmentary Joseph Kubera piano, flickering bass and lingering vibes from William Winant blend uneasily, sometimes edging toward horror, in Apophenia IV: A Bell in Every Finger. It could be a performance art parody, or maybe everybody just got really stoned before improvising it. Either way, it runs out of gas short of the twelve-minute mark. The album winds up with the five-part suite Fanfares For Modest Accomplishments, played by violin duo String Noise and spanning from chirpy, minimalistic acerbity, to wry conversationality, playfully adrenalizing rollercoaster interludes and a coy false ending.